The Specials- Singles

The initial career of The Specials was from 1977-1984. This compilation- one of many released by the band- was released in 1991, a few years before they reformed.

Firstly, a quick mention of recording quality. While it may be sacrilegious to criticise the "character" of the bands' sound, I do wonder if a remastered version would be more enjoyable. By today's standards, the sound is very thin. On the bright side, the balance between instruments is good.

For me, Gangsters is simply a timeless classic. Quite a simple song, but enjoyable from start to finish. Rudy A Message To You evokes similar reactions. Objectively there isn't much exciting about it these days, but it's a classic two-tone anthem which I will always enjoy.

Time has not been so kind to Nite Klub. It might have been a unique new style of ska, these days I find it pales in comparison with The Toasters etc. Similarly, Judge Dredd and others have taken the skinhead ska sound of Too Much Too Young and refined it into a style of ska of its own. Similarly for Stereotype, the concept of which has been taken to far greater heights by Madness.

The melody of Guns of Navarone is fantastic, making this another timeless classic. However, towards the end it feels a bit drawn out, so it could have used some more musical ideas to complement it.

While I must respect the band for trying new sounds with International Jet Set, Why, War Crimes and (What I Like Most About You Is Your) Girlfriend, unfortunately the songs themselves leave me cold (perhaps this means I prefer formulaic ska?!) While I'm being harsh, Do Nothing sounds to me like awkwardly sped up reggae, and Nelson Mandella is a fundamentally bland song hiding behind overdone glitter.

On a positive note, Ghost Town is wonderfully moody, thanks to its Arabic influence, and the horn melody in Racist Friend is a highlight. Friday Night Saturday Morning is also one of my favourites. The strangely lonely and isolated feeling in a hedonistic social setting is captured brilliantly. And the organ part is also fantastic.

Favourite songs

Gangsters, Rudi A Message To You, Guns of Navarone, Ghost Town, Friday Night Saturday Morning, Racist Friend

Worthwhile?

On its own merit, this album probably just scrapes across the line. However, it represents a major influence to the countless ska bands I've enjoyed since, so I gotta respect that!

Incredible Dead Goons- La Rumbla

After a few years hiatus, Incredible Dead Goons reformed in 2006 to release this album. Departing from their previous ska/jazz style (see In Chronological Order), the best description I've heard of this album is "Tim Burton soundtrack".

I would also describe it as "deranged circus music", similar at times to Dresden Dolls and early No Doubt. This should serve as a warning, if you play this album to anyone, they'll probably think you're bonkers! The lyrics are fantastically batty and full of strong imagery. For me, the album feels like a concept album, so it is quite strange to analyse the songs separately.

The recording quality is passable, but not polished. The double-bass is often woofly. Also, often the horns sound a bit amateur in the way they are recorded, although arguably this could suit the style of the album. Kudos for the excellent composition, all the instruments of this large band have been very well integrated. It cleverly walks the line of controlled chaos and no instrument's part ever feels "tacked on".

Pirate's Kitchen immediately declares that this is a Mad Hatter's Tea Party of an album! The song jumps all over the place, but still manages to feel cohesive. The faster parts are perhaps a bit twee, although the excellent lyrics make up for it. The slower "beer mug swinging" sections have a wonderful swagger. Falling and Big Green Thrash are similar and also great.

School Again uniquely combines funk with dixieland, and the results are strangely catchy. Is there such thing as ska without an offbeat guitar? If so, Tonight I'll Make You Mine is it. The eclectic verses are perfectly complemented by its catchy chorus. Also, I'd like to mention The New York City Baby Awards Were Rigged. The song isn't a highlight for me (a bit too eclectic and structureless), but what a great name for a song!

In shock news, Grinding Gears, Dynamo and Money on My Mind could almost pass for normal songs! The former is a fun high energy combination of ska, funk and hints of rockabilly somehow. With a great horn line. Dynamo is a brilliant assault of dirty funk-rock, like a badass Stevie Wonder. What a great riff, too. Lastly, Money on My Mind is a well executed jazz song in the style of  Squirrel Nut Zippers.

Summer Goes is a bit of a filler for me. It provides welcome respite on the album, but doesn't appeal much in isolation.

I feel silly for saying this given the rest of the album, but This is Your Captain Speaking feels a bit disjointed to me. The bebop influence gives an interesting dimension, but I don't think the sections fit together very well.

What's the Point brings us gently back to reality with a great vocal/piano song. Reminding me of The Dresden Dolls, I really like the way it ebbs and flows.

Favourite songs

Pirate's Kitchen, Tonight I'll Make You Mine, Grinding Gears, Dynamo, Money on My Mind, What's the Point

Worthwhile?

What a fantastically bonkers album!

Millencolin- Kingwood

The sixth album from pop-punk-rockers Millencolin, this album was released in 2005 and follows Home From Home in 2002... which leads me straight into a rant!

Home From Home often gets a bad reputation from Millencolin fans as the sell-out album featuring bland commercial Foo Fighters inspired stadium rock. Personally, I actually like this style; but more importantly, the fans were running around like the sky was falling down just based on a handful of songs amongst a varied album. As the first album to deviate from the much-loved style of Pennybridge Pioneers and earlier albums, it seems Home From Home took a hit for introducing the idea that Millencolin weren't going to continue writing songs in this style until the day they died.

And how is this related to Kingwood, you may ask? Well, this album was hailed as a "return to form", but I think this is a misconception. Home From Home merely debuted a new style on a couple of songs and Kingwood just continues this theme, by which time people's outrage to the change had run its course.

When looking up other reviews of this album, interestingly I found a wild array of opinions about how this album fits stylistically in Millencolin's catalogue, musical influences for this album and what the best songs are. It's similar to polarising, but actually inspires a wide range of reactions- perhaps a "fragmenting" album?! Anyway, here's my take on it...

The recording quality is terrible for about half of the songs. Sorry for another rant, but it actually had me wondering if my stereo was broken! Many of the songs are clipped (perhaps that is the "evil" Foo Fighters influence at work, after all!), causing terrible distortion, especially for the cymbals. Also, the bass guitar is sometimes really boomy, with certain notes being barely heard and others standing out like a sore thumb.

Most times when I'm chin scratching about recording quality, it is something I have to actively keep an ear out for. But this album is the opposite, it is something that requires effort to ignore. Thankfully it doesn't affect all songs; the worst afflicted are Farewell My Hell, Birdie, Cash or Clash, Biftek Supernova (this one can be excused, it kind of suits the song), Stalemate and Hard Times. Rant over, onto the songs...

Farewell My Hell is a competent opening song, quickly establishing the energy and style of the album. The chorus of Cash or Clash is perhaps "too" pop-punk, sounding like a cheesy ditty. But they nailed it for Birdie- its catchy pop-punk style is vintage Millencolin goodness. Combined with the headbanging verses, this is one of my favourite songs on the album.

Millencolin can't resist a big rock ballad from time to time, and Shut You Out is a wonderfully polished example. The layering of guitars throughout and singalong chorus are highlights for me. Stalemate is similar, and also features a fantastic chorus.

Biktek Supernova and Simple Twist of Hate are just fast-paced moshpit thrashes. They're fine for this purpose, but personally I'd rather just listen to an earlier Millencolin album instead. Ray is also quite similar to their older fast-paced punk-rock. As per the earlier albums, the combination of guitars at maximum attack with humble lyrics baring the softer side of humanity works a treat.

Speaking of lyrics, while most songs feature interesting lyrics, I note the lack of any tongue-in-cheek songs about motorbikes, falling in love with a plant, etc. It's a bit sad to see they've "grown up" in this aspect.

The riff-rock style introduced by Home From Home makes an appearance in My Name is Golden (the eggcorn of the title is brilliant!). I'm pleased to report decent recording quality for this one, and the headbanging chorus is a treat. Hard Times is similar.

Favourite songs

Birdie, Shut You Out, My Name is Golden, Ray, Stalemate 

Worthwhile?

In isolation, I enjoy enough of the songs to make it an album that is this worth owning. However, it doesn't really bring anything new to the table, so it doesn't quite meet the (admittedly very high) standard set by Pennybridge Pioneers, Home From Home and Machine 15. So the recording quality sins cement this CD's place as a forgettable Millencolin album.

Bloc Party- Silent Alarm

This CD needs no introduction, the blockbuster debut album from UK indie-rock band Bloc Party. Interestingly, the band had been kicking around since 1999, giving themselves six years to put this album together.

Time well spent I reckon, since the album shows great polish and maturity. It starts in a pop-friendly style of party rock (pun not intended) for Like Eating Glass, Helicopter, Positive Tension and Banquet. Like Eating Glass's verses establish Bloc Party's eclectic style (particularly the drumming), with interesting sounds coming from all directions. While the chorus feels a bit tacked-on, it is wonderfully catchy and bouncy in its own right.

Similarly, Helicopter reminds me of Franz Ferdinand's Take Me Out as a series of very catchy sections barely hanging together as a song. But its fun, so who am I to judge! And before the "weirdness" turns away casual listeners, another infectious catchy pop chorus comes in to keep everyone happy. It's the same story for Positive Tension, which also has a style that reminds me of The Killers somehow.

As someone hopelessly addicted to guitars playing on the offbeat (translation: I'm a ska tragic...), Banquet is a highlight for me. The guitar riff in the verses sounds quite inspired by The Clash I think. And the other ingredients are similarly high standard- another chorus achieving singalong greatness, the breaks work well, and this is one song where the sections flow into each other very well.

The album then ventures into other directions, starting with the stripped back Blue Light. Musically it's a mixed bag for me, sometimes feeling beautiful in its simplicity, other times feeling a bit aimless. The lyrics are a highlight, with some great imagery and also nicely abstract. And, no, I haven't the faintest idea what "You are the bluest light" is supposed to mean either!

This Modern Love also uses a gentle yet uplifting theme, this time with a variety of musical voices and a driving forward motion. Gentle, yet uplifting and catchy. Very nice.

Perhaps because 80s Eurupop isn't my cup of tea, She's Hearing Voices doesn't really appeal. Although I do really like the pre-chorus. The Pioneers has some great moments, but leaves me yearning for a vintage Bloc Party catchy chorus to tie it all together.

While I'm ranting... the recording quality. Ok, so it's indie rock and the sound is meant to have "character". However, I really wish it had just some bass to fill out the sound a bit. Otherwise, it's very well recorded, particularly the crispness and detail. This is critical for the songs not sounding messy, since there are often  several different intricate parts being played simultaneously.

So Here We Are sits nicely on the album, although in isolation I don't think it's a very interesting song. Goes nicely on album, nothing special in isolation. Catchy choruses and feelgood lyrics are traded for an industrial and aggresive feel on Luno. I quite like it, however I think this is another song where the sections are a bit disjointed. Plans is also a bit experimental and I must admit it's not really to my taste. This is a bit of a conundrum for me, since I really admire the band for their experimentation and not producing a whole album to the pop-friendly formula of the first few songs. But on the other hand, those catchy pop ditties are the songs I enjoy the most, which is a bit embarrassing.

Luckily for me, the formulaic super-catchy hits return with Little Thoughts! The chorus doesn't hit the heights of some of the others, but the song does build up nicely throughout. The synth-pop sound of Two More Years doesn't appeal to me, but the story of the lyrics makes for a fantastic song.

Favourite songs

Helicoptor, Positive Tension, Banquet, This Modern Love, Luno, Little Thoughts

Worthwhile? 

Rediscovering this album was quite a surprise: I remember it being quite good, but forgot just how enjoyable it is. Perhaps even more so, if I had the sophistication to appreciate it on a deeper level than "just" the catchy pop highlights. Regardless, it's a great album.

The Red Eyes- Live at the Evelyn 2003

(this isn't the album cover, which is nowhere to be found on the internet)

This live EP was released in 2003, about a year before their High Place EP.

It features the 3 songs from the EP, plus 4 other songs. My opinion of High Place and Babylon Calling on this live recording is unchanged from the EP versions. Which is a complement in itself, since the recording quality is on par with the studio EP, which itself is of a high standard. It's astounding how they achieved such a full, yet detailed sound on this live recording.

However, Ultra Magnetic begins with a long intro, taking almost 4:30 to drop into the groove. Even after this, it still meanders along aimlessly, in my opinion. My People combines lyrics almost entirely consisting of hollow platitudes with a bland reggae style. Not impressed.

On a brighter note, Tribulation is one of few Red Eyes songs where I like the lyrics. While there are still many reggae-dub elements (with a slow, menacing bassline that has a hint of rocksteady) it also reminds be of hiphop. Thieving Hands has great drive, and comes together nicely as one of my favourite songs on this recording.

Favourite songs

Thieving Hands, High Place

Worthwhile?

Kudos for the great live sound, but unfortunately the style of songs doesn't appeal to me.

The Red Eyes- High Place

Here is an album from the days were "dub" wasn't necessarily preceded by "step". So there's no need to fear an overload of cheesy wub-wub here! The Red Eyes were a reggae-dub band from 2002-2012, with this EP being released in 2004.

Ultra Magnetic quickly establishes a trace-like groove. With it's relatively quick tempo and brilliant rocksteady groove it is wonderfully mind-altering! It reminds me of Massive Attack, if they'd taken more stimulants in their mix of drugs.

The recording quality is great, featuring wall-shaking bass and an array of trippy sounds flying around.

The chorus of Babylon Calling is a deal-breaker for me, for some reason I detest it, both musically and lyrically. The verses are ok, with a strong hint of Bob Marley. While I'm whingeing, the remix B-sides basically add a dollop of drum'n'bass to Ultra Magnetic and High Place. This is, ahem, not my cup of tea.

Inane lyrics are unfortunately a bit of a trend, as they also feature on High Place. Thankfully, again the groove (at a slower tempo in this case) is more than enough to compensate.

Favourite songs

High Place, Ultra Magnetic

Worthwhile?

Despite a few gripes, this album is a wonderfully oddball part of my collection.

The Reverend Horton Heat- Holy Roller

By 1999, psychobilly trio The Reverend Horton Heat had been around for about fifteen years. This mid-career compilation features songs from Smoke 'Em if You Got 'Em, The Full-Custom Gospel Sounds, Liquor in the Front, It's Martini Time and Space Heater.

As a compilation, this CD flits back and forth between various styles without any real overall trend. Similarly, the recording quality is quite mixed, unfortunately the a messy hi-hat sound (like a badly compressed mp3) and the lack of a solid bottom end (double-bass and kick drum) are common themes. The vocals and guitar sound very nice, though.

Starting with the duo of Big Sky and Baddest of the Bad is the perfect intro; the former oozing with spaghetti western style, leading into headbanging psychobilly with great lyrics.

Wiggle Stick is a great "stroller" song with a dirty, sleazy edge. Perfect grinding music! I wish it weren't so distorted, but I guess this is part of the style.

The band are in their element for Big Red Rocket of Love, the perfect combination of rockabilly and psychobilly with fantastic energy and style. 400 Bucks is more straight psychobilly, which would be perfect for a moshpit. Sitting here chin-scratching in an armchair probably doesn't do it justice, but the lyrics are so passionately vehement yet amusing at the same time. It made me feel like a naughty kid trying not to break out laughing because he's made his parents so angry!

Lie Detector goes further into cock-rock territory. The poor recording quality of the double bass is most obvious here, because the bass laying the foundations of the groove is sorely missed. The groove itself, though, is fantastic. Great headbanging stuff. Similarly, Jimbo is pretty mindless psychobilly- that's both a criticism and a compliment...

Bales of Cocaine is an amusing treat, a song in the early rockabilly style telling the tale of an accidental druglord. The final track is a terribly messed up version of Scott Joplin's The Entertainer. Terrible in a good way- it's clearly the result of a drunken session in the studio which is quite amusing. Also, it features the crispest recordings of burps I have ever heard!

Bath-water Blues is a bit of an interlude- a solo guitar song heavily inspired by Chet Atkins. Although technically a blues, it's quick tempo and whimsical lyrics make it more a lighthearted interlude than a typical blues song. An interesting listen.

The cover of Fulsom Prison Blues is competent, but nothing compares to the orginial version from the master, Mr Cash.

This post is getting very TLDR, so I'll skip to my favourite songs...

Baby I'm Drunk is also a long way from psychobilly. I find the lighthearted style perfectly suits the terrific drunken blitherings ("I'll explain in the morning, 'cos the kitchen bright's too light"). Silly fun.

The heartbreak blues Where in the Hell Did You Go With My Toothbrush ebbs and flows wonderfully. It does this to match the great lyrics, which spontaneously switch from despondant to furious, and vice-versa.

Crank up the sleaze to eleven for One Time For Me, Love Whip and In Your Wildest Dreams. Love Whip works well as either a serious sleaze-fest or tongue-in-cheek, it's up to you! However, there's no mistaking the highly explicit lyrics of One Time For Me, perfectly nailing (oops, poor choice of words there!) the peepshow psychobilly style. While I feel it would benefit from a slower tempo, that main riff is genius. In Your Wildest Dreams sees the Reverend channelling Barry Manilow. So cheesy. So good. There is no mistaking the ego and innuendo of "I'll see you... in your wildest dreams"!

My last favourite (aside from those on Lucky 7) is Big Little Baby. This furiously fast rock'n'roll is perfect for bouncin' around like a madman. Even when you're in your living room and meant to be chin stratching! While there are many aspects to The Reverend Horton Heat's style, this rock'n'roll on steriods is one of my favourites.

Favourite songs

Big Sky, Baddest of the Bad, Wiggle Stick, Big Red Rocket of Love, Bales of Cocaine, Lie Detector, Baby I'm Drunk, Where in the Hell Did You Go with my Toothbruth, One Time For Me, Now Right Now, Slow, Love Whip, Big Little Baby, Cowboy Love, In Your Wildest Dreams

Worthwhile?

Just look at that list of Favourite Songs above!

Me First and the Gimme Gimmes- Are a Drag

This 1999 album sees the cheesy skate-punk covers supergroup taking on some classic broadway songs. This concept appeals to me on two levels: as a connoisseur of punk-rock (if such a concept exists!) and for the immature enjoyment of hearing these classic songs stripped of their dignity...

Firstly a gripe though. Even in the scheme of skate-punk, the recording quality is very poor. There's no bottom end punch to the bass guitar or kick drum, the "cheese cutter" guitars sound hollow and the cymbals a mess. This is a real let-down since the instruments are well played throughout the album. Anyway, on to the songs...

Somewhere Over the Rainbow is a competent opening song, if a fairly generic effort. I do still like it though, such is the catchiness of the original. Don't Cry For Me, Argentina feels better suited to the punk-rock, with some enjoyment to be had in the very concept of an American frat-boy playing the part of an Argentinian heroine. Also, the 2nd pre-chorus works well (it's nice to hear another chord or two in a punk-rock song occasionally!).

Science Fiction Double Feature feels quite disjointed and the chorus somehow awkward. And I must shamefully admit I'm not very familiar with the original Rainbow Connection, so this song is lost on me.

Summertime is simply awesome. A fantastic adaption that is both a parody and a soaring punk-rock song. My favourite moment is the transition from the (relatively) gentle guitar in the first verse opening to "crank it up to 11" punk-rock soon after. It's the perfect combination of donor song and punk conversion. Brilliant.

Favourite Things frantically bounces along with fantastic energy. It seems they took some liberties with the lyrics:
When the dog bites,
When the bee stings,
I don't feel so fuckin' bad
Unless Julie Andrews really did sing that?!

The riff of Phantom of the Opera makes for epic punk-rock! Also, this song seems a bit more layered than others on the album (eg the backing vocals in the chorus), making this song a highlight for me.

While I don't know I Sing the Body Electric, the epic scale of the lyrics makes for a great punk song. A great case study in the improvements to be found in removing broadway fluff and stripping a song back to 2 minute Ramones-esque punk-rock ditty! Also, with an appropriate backing, the lyrics now reveal themselves to be quite epic:
I look back on Venus,
I look back on Mars.
I burn with the fire
Of ten million stars 

It's Raining on Prom Night suits the album art of trashy drag dress-up perfectly. Also it makes for a nice catchy skate-punk song. The lyrics in the bridge are wrong. So wrong. Therefore I can't admit to liking it...

I'm not familiar with the original version of What I Did For Love. <looks it up> Urgh. Turns out this punk-rock version is a huge improvement. But that doesn't count for much...

Cabaret uses a ska guitar beat to great effect. The hedonistic lyrics suit the punk style perfectly, and the build-up to the soaring punk ending is fantastic.

Favourite songs

Don't Cry For Me Argentina, Summertime, Favourite Things, Phantom of the Opera, I Sing the Body Electric, It's Raining on Prom Night, Cabaret

Worthwhile?

As expected, the enjoyment of theses covers is quite dependant on whether I liked the original or not. However there are plenty of covers I dig here, all fantastically re-interpreted. And, as a bonus, a couple of songs I never knew but am now a big fan of, at least in punk-rock form.

The Reverend Horton Heat- Lucky 7

This is the 7th studio album from The Reverend Horton Heat. It was released in 2002, 6 years after It's Martini Time.

Since there is no obvious stylistic difference between The Reverend Horton Heat's albums, I don't tend to remember which songs are form which album. So it will be interesting to focus on how this album differs from It's Martini Time.

The first track, Loco Gringos Like a Party is a great song, but a strange choice as opening track. More relaxed than many of the psychobilly songs on the album, the spaghetti western and jazz influences are a highlight for me. Trading off its great style rather than any specific musical hooks, it drags on a bit, however I'm totally happy to endlessly enjoy the groove! Also, I really dig the false ending, somehow making me appreciative that there is still a bit of this great song left to enjoy.

Regarding the recording quality, the double-bass and drums are often muddy and lost in the background, similar to It's Martini Time. Also, the cymbals sound disappointing (and that's when you can actually hear them). On a happier note, the bass has good meat to it and the variety of guitar sounds are nicely recorded.

There first two of the aforementioned psychobilly songs, Reverend Horton Heat's Big Blue Car and Galaxy 500 are quite similar musically, both featuring musically chaotic verses and simplistic repetitive choruses. The light-hearted story of absurd divorce settlements ("You take the fish, I'll take the bowl") and classic cars ("...but things ain't so bad, cos I've got a Galaxy 500") makes Galaxy 500 my pick of the two.

Suicide Doors continues the winning combination of psychobilly and talk of old cars. Remember Me is similar, but to me the song just drifts along without any musical or narrative progression to follow. Ain't Gonna Happen doesn't have any real instrumental highlights, so the enjoyment comes from the great story of determination against the odds:
An inch at a time, but it means a lot.
All I gotta do is play connect the dots.

Go With Your Friends is very similar to Ain't Gonna Happen. The chorus is a bit too simplistic and the song feels too long to me, but the twist in the bridge is great.

The lead-up to the finale, Sermon on the Jimbo, works well as an amusingly cheesy lead-up to You've Got a Friend in Jimbo. This last song has some funny religious references. Although it seems to drag on too long (seems to be a trend on this album), it works well as some comedy relief.

Two of my favourite songs are more high-energy rockabilly than psychobilly: Like a Rocket and What's Reminding Me of You. Both are infectious fast-tempo blasts, a great modern interpretation of Bill Haley and co. Despite their increased tempo, it actually feels like the songs are straining to go even faster. They feel frantic, yet perfectly controlled, a sign of great musicianship. Also, the solos of both songs feel like the band are egging each other on to keep going harder and faster. Brilliant. Both have great lyrics, although the topics couldn't be any different: Like a Rocket is talking about how fast his hotrod is, and What's Reminding Me of You is a tale of lovesick woe! Regarding the latter, the irony of such a sad tale being told in such an energetic, feelgood musical style is yet another highlight.

The Tiny Voice of Reason has interesting lyrics, but somehow the 6/8 musical style sounds... I dunno... daggy. Duel at the Two O'Clock Ball has great sparse spaghetti western elements, but it drifts on aimlessly for too long, and the faster section at the end doesn't appeal at all. Show Pony is a solid rendition of the Chet Atkins style, which unfortunately isn't my cup of tea.

Favourite songs

Loco Gringos Like a Party, Like a Rocket, Galaxy 500, What's Reminding Me of You, Ain't Gonna Happen, Suicide Doors, Sermon on the Jimbo, You've Got a Friend in Jimbo

Worthwhile?

It's another must-have Reverend Horton Heat album!

The Reverend Horton Heat- It's Martini Time

It's Martini Time is The Reverend Horton Heat's fourth album, which was released in 1996.

It was also my introduction to the world of psychobilly. Having fond childhood memories of my parents Bill Haley records, this combination of rock'n'roll with heavier forms of rock was a revelation for me.

While most songs contain lyrics, the songs are very much instrumentals, with lots of instrumental breaks and solos. As far as sound quality goes, the double-bass and drums are often a bit muddy and lost in the background. But this may be a trade-off for the double-bass having a characterful sound, in which case I will happily forgive the muddiness. As per the bands style, the sound has a few rough edges and the menacing vocals mightn't be to everyone's taste.

But it certainly is to my taste! Big Red Rocket of Love, Generation Why, Now Right Now, Spell on Me all feature great guitar riffs, franticly buzzing verses and headbanging choruses. My pick is Spell on Me for the way its section seamlessly blend into each other. Also the semi-obscure drug references (eg "Louisiana Snowball") are kinda cool.

Slow reduces the tempo for a menacing "stroller" style which works a treat. The thrashing chorus seems a bit out of place to me, although it's quite a good psychobilly chorus in isolation. The pace is dropped even further for the psychobilly ballad (is that an oxymoron?!) Or Is It Just Me. This song has wonderfully touching lyrics and the simple riff is a highlight of the album for me.

The instrumentals (Slingshot and Forbidden Jungle) are wonderfully moody and feature surf-rock influences. They also add some horns into the mix, which are impressively well integrated.

Spoken word isn't my cup of tea, hence That's Showbiz doesn't really appeal. I shouldn't criticise it though, because the words and jazz backing are both interesting in their own right.

Now for the lighthearted cheesy songs: It's Martini Time, Crooked Cigarette and Cowboy Love. The elements of It's Martini Time are all excellent, but it feels a bit disjointed for the first minute or so. Crooked Cigarette is quite similar, and a bit catchier in my book. Cowboy Love is a tongue-in-cheek country/rockabilly homosexual love song. Hopefully this isn't a homophobic statment, but I find the gay cowboy euphemisms very amusingly cheeky.

Favourite songs

Big Red Rocket of Love, Generation Why, Slingshot, Time to Pray, Crooked Cigarette, Rock This Joint, Cowboy Love, Now Right Now, Spell on Me, Or Is It Just Me, Forbidden Jungle

Worthwhile?

The perfect introduction to psychobilly.